Yawadwipa Purveyors of Apotheotic Hymns, Omnipotence and Death - An Interview With EXHUMATION (Indonesia)

With a name as seemingly prosaic (at least in the context of death metal) as Exhumation, this Indonesian trio is in contrast quite a breath of fresh air, especially considering they hail from Indonesia, known for more straightforward and outright brutal death-metal type of acts. Exhumation instead presents a rather matured and remarkable brand of death metal, with their ear for structural dexterity and compositional architecturing, showcasing a knack for the placement and embedding of melodicity in a most tasteful manner subtly invoking their eastern roots and sensibilities, while combining this with an orthodox death metal mould taking cues from the likes of Morbid Angel, Hate and Vader, with an addition of guitar wizardry to the creative potpourri. However, even the band name's etymology and its premise, as well as the thematic explorations of the band are far more shrouded in underlying profundities and a sagacious vision that isn't immediately inferred, but understood with a little more scrutiny. 

Exhumation's founding member and axe-man Yoga G a.k.a Grave took the time out to sit down for an interview with Putrid Ascendancy (with correspondent Achintya Venkatesh providing the line of questioning) and discussed a variety of topics surrounding the band. The interview follows below —

Greetings from the Putrid Ascendancy horde, Exhumation! It’s an honor to have you on here. Could you briefly tell us how and when the band was formed, and how the current line-up came to be?

Grave: From hall up high greeting to you my friend, thank you for having us. The band was formed not a very long time ago, precisely 6 years ago when we're still in a very young age, innocent, fragile, and being outside of the world. As the ideas appear, it was me Grave and our past member Kusnan who build this vessel at the very first time. Then we found Bones as vocal in 2010, then it just so natural when A and J both agreed to join our dominion. So here it is, Exhumation are Ghoul, Grave, Bones and two live sessions hordes A and J of Headkrusher.

What are the etymological origins of the band’s name? Is there a particular reason you chose the name Exhumation?

Grave: The name is entirely about digging our own grave. Within its power and energy, Exhumation sincerely deliver the reflection of our liberation as an artist to dig and dive deep its idea. The name that derives a true heart who lives in their own world, own law, own path, and own role. The name that the echo of its fury would forever aflame. In one form of our language and sound, Exhumation could portray here some where, where we end up like everything needs to have a certain purpose.

What was the primary premise behind the formation of the band? What were your primary musical and artistic motivations or visions that drove you to embark on this project?

Grave: To let ourselves embrace the ultimate power of its fire. To let ourselves embrace the infinite energy of our heartwork. To feel the world as we see it. To free our will then translate it into haunting sound and words!

Could you elaborate on the primary influences of the band that have influenced the stylistic leanings and overall sound of the band? Which are the bands that have helped forge your own sound the most?

Grave: Our hearts. Our diverse personal experience toward our essence as Exhumation. Those the only things that real for us even more influence us, it make us solid in many ways, when we can deeply understand our own diversity and capability on our musicianship or whatever, as humble as we appreciate the way we see things, perceive things and gather it to one, Exhumation. And we had to be honest each of us is possessed by the band that are really diverse to our musical direction yet it also influence us in many ways. Since we know, we never limit our capability in the process of it, writing material. We let every core and role of death and dark music infiltrate our vein and blood. On other hand, no introduction needed when super tiny band like us are heavily raised from band such Morbid Angel and stuffs.

Is there any specific literature that inspires the band’s lyrics, or are the lyrics wholly the handiwork of the band itself? What are the inspirations for the themes employed by the band?

Grave: Regarding to our debut, Hymn To Your God, those words are based on our handiwork and we don't elevate those words into our music but the words itself, from the depth of the depth that surround us, expressed in infinite ways. Further, from the devotion and dedication to a power that is just beautiful, our next material would be based on some neoclassical stuffs, inspired by most words of John Milton.

Onto the discography of the band, you initially had a demo called ‘Dunia Buta’ in 2009. Why didn’t this ever see the light of day as far as being released on a physical format is concerned? Also, I notice it isn’t listed as part of your official discography. Why is this the case? Has the band expanded stylistically after this demo, or did Exhumation stick to its root sound even for ‘Hymn to your God’?

Grave: Thank you for asking this. As you know, Dunia Buta is recorded back then in 2009, and it's behind us. Dunia Buta is already sit between its core of ours, our progression as a band. And Whatever comes to our progression, everything we do is very based on one idea, one vision, one root, ours. I hope everyone would notice this. And if people still try to wonder where's the song actually? we would say the song is already buried deep there, in our heart.

The band’s debut album ‘Hymn to Your God’ was released in 2012, and I have to say the arrangements on the album are fantastic. Fairly unconventional, with heavy doses of sensible melody with an almost classic heavy metal sense of tonality, with many segments that are more mid-paced and riff-oriented, rather than the usual continuously blasted indulgence. Could you tell us a bit about the typical song-writing process of the band, and how compositions eventually fall into place?

Grave: Fairly unconventional, you say so? Thank you for your kind words, all hearts! Well through years we tap into different creativity as human being, our song-writing process are so natural for real. It should come with no surprise, where the songs are start with one riff and rhyme, we feel it, swallow it, so be it. Then it just come from one word, each of us asking why how and what we write this, what is mean to each one of us, what you can you say about this, how do you feel? We would love to feel every core of the song that written in our paper is a way to start our path to being there, being one with our songs indeed.

The album artwork for ‘Hymn to your God’ is also very vivid and detailed, and the sepia tone makes for a very appealing effect. Who was the artist behind this artwork, and did the band have anything to do with the conceptualization of it? What does it represent with regards to the music of the album?

Grave: The artist behind this artwork is Bayu Putrasangfajar. Blast from the past, when we asked him to do this artwork "just draw a man with tree, one tree" feel the connection between its song and lyric, and be inspired of it. Well he's so talented in many ways, certain way. Our artwork genuinely means everything to us, a very magnificent artwork who deliver a message of evil music and haunting sound. The artwork itself become our vehicle to translate everything we do as Exhumation. It is our expression towards the divine, light or dark. Then we take as a hymn as our true voice to sing and praise as if there's a energy that lives in our heartwork, our own world.

The band’s first official release seems to have been the split with Goddess of Fate and Nocturnal Kudeta. Was there any specific motive behind the release of this split (given that it features two songs that are also on the debut album), and what do you have to say about the bands that participated in the split alongside Exhumation?

Grave: It's been our honor to work with them, they're extremely good people in many ways, it always is. We have shared experience a lot together, did a tour with them last year and plus Headkrusher was one of our massive experience that ever written in the history of Exhumation. We feel like we have a new world that each of us taking role in it.

The band’s debut was re-released by Dunkelheit Produktionen in February ’14. How did this alliance with the label come about, and have you seen, perhaps, a surge in exposure since? Is there any difference between the 2012 and 2014 release?

Grave: The attraction and its adoration of the album that says all. Our reissue album would include the cover of canadian cult Blasphemy for the song Ritual.

Songs like the title track of the debut album also have more eclectic elements atypical for orthodox/traditional death metal, such as traditional instruments and female vocals. Will we see more such subtleties and experimentation in forthcoming Exhumation releases?

Grave: Sure thing! That's the last song that we're dive into anyway. That song is the actual reflection of our debut, Hymn! If you able to feel the song and aura in it. Its content, essence, presence of the hymn itself, an absolute track which greets and pave our way on artistic level. As we growing older and wiser, all I can say is we can't get enough to make something like this and that, we would make every song means something on the second opus. Something that really you can feel, something that you can draw on your walls, something that actually you were there, you will be the part of that.

The band hails from Yogyakarta. Could you tell us a bit about the scene for heavy music in the city, and how receptive audiences and aficionados have been towards the music of Exhumation?

Grave: Pretty much great I would say if some people could throw away the blueprints and stigma about our music/scene/circle/world/or whatever. So far I can see there's strong acts that emerged recently in our shore Yogyakarta, even more they've build something new, something that could change their own world, something that is visible and it is a must to some people to dive into. For years before we released our debut not so many people noticed that we're still alive here and it take some time for them to know us, realize that we're exist as a band and understand our reasons what we are doing in Exhumation, even more go inside to our world. Back then, our debut was released two years ago, maybe yes maybe they shift their perception about us, Exhumation. Who knows? we don't care though. What we care is as time goes by, we would continue to refine our creativity in art and in one form or another, we walk to dissect the world with our music as well.

The ties between Indonesia and India is an ancient one, going back to the times of the Ramayana, where ‘Yawadwipa’, the traditional name of Java is mentioned; or the connections the country had with the Pallawas, Cholas and other dynasties. The very name Yogyakarta is derived from the city ‘Ayodhya’ from the epic Ramayana. Also, the Sanskrit influence in Indonesian languages and culture in general is undeniable. In light of the same, what are the prospects for an invasion of Bharat by Exhumation? What have you heard about the scene for heavy music here?

Grave: Well spoken my friend, I adore how you put it into words. As I can see there's a deep connection within it, it ours, eternally. Well then I would put the term adoration here if we reach can your shore, since I know the bands like Necrodeity, Dhwesha, Dying Embrace, and so on. Their attitude, devotion, dedication towards their music so understandable for us plus those bands make sense to us. Very inspirational bands in many ways.

Where can fans outside of Indonesia obtain the debut album from? What are the physical formats it is available in?

Grave: Only CDs are available, cause the tapes are already sold out. You can update everything you need to know about us, well down this link; http://www.dunkelheit-produktionen.de/

Finally, what are Exhumation’s plans for the near future like?

Grave: Work more, second opus, tour, would be done this year! and to see the world on fire!

Thank you for taking the time do this interview. It’s been an immense honour. If you have any closing words for the Indian hordes and beyond, please do go ahead!

Grave: We've had the most surreal for years! We really had to say a massive thank you for listening our music, thank you for being there. See you on the road. HYMN OF DEATH! 

Bandcamp: http://exhumation.bandcamp.com/

YouTube: http://www.youtube.com/user/hailexhumation

MetalArchives: http://www.metal-archives.com/bands/Exhumation/3540343285

ReverbNation: http://www.reverbnation.com/hailexhumation

REVIEW: Nafarmaan - Quayamat Lullaby [EP] (Bangladesh)

Band – Nafarmaan

Release – Quayamat Lullaby

Type – EP

Label – MTD Productions

Origin – Dhaka, Bangladesh

Date of Release – 2014

Number of Tracks – 4

Playing Time – 27:03

Genre – Black/Death Metal

Tracklisting

1. Quyamat Lullaby

2. Bloodsoaked Revelation

3. Leashed Silence

4. Godless Messiah

From the very inception of human civilization in this vast geographic area that has over time been the melting pot of a various racial types, ethnicities, cultures and religions, South Asia is a region that has been subject to vast socio-political, cultural and demographical changes at large since time immemorial. The ancient kingdom of Angadesha has in particular been swamped with such changes over the course of history, and has been split into two wholes courtesy of the two dogmas that perpetually seem to divide man – politics and religion. Nafarmaan is yet another mighty force from the other half of this land – Bangladesh. Having formed in 2008, the etymological origins of the band name derive from the Arabic and Farsi fraction of Urdu, denoting the most harrowing and vilest of curses in Islam, connoting the ultimate deviant and blasphemer, also bringing under its purview the adherents of all ‘false’ religions – in essence, the despised and detested in the context of Islamic orthodoxy. Quayamat Lullaby is the debut EP of this Bangla horde, a brief release with four songs. The word Qayamat denotes the Day of Judgement in Islamic theology. The first thing that comes to mind when one comes across a black/death metal band is that you either expect outright Blasphemy worship, or the band takes the conventional route of the two other variants of this hybid genre – the more atmospheric and sonically dense variant and the more acidic, grinding and melodicity-laden brand of blackened death metal.

However, Nafarmaan presents a very different aesthetic from what you’d expect from a band in this niche genre. The manner in which the band blends the two genres is fairly unique, with no qualms apropos dabbling in melody and other off-beat elements such as clean guitars, traditional chant-like dirges and the like. Comparisons to Weapon with regards to similar amounts of sensible melody will inadvertently arise, although the two ultimately sound quite different from each other. What furthermore makes the assessment of this EP a difficult task of sorts is the fact that each track presents a unique orchestration of the same dynamics relative to the track that precedes it. Make no mistake however, this isn’t some sort of stripped down black/death metal release conveniently hiding behind opaque vagaries of song-writing – all the elements of the bestial black/death metal are very much present here, with the signature successive phrases of devastation injected with an inherent sense of thunderous recursion being more than evident. Riffs flow atop a blasting structural skeleton, gashing out in an unrelenting manner, evolving within a brief phrase, alternating between racing formations of tremolo-picked chords with a concomitantly black metal sense of euphony and the cumbersome sense of syncopation-driven, riveting rhythmic formation  that has come to characterize death metal.

The basic riff idea here are all fairly derivative of the larger realm of black/death metal, being the juxtaposing of lengthier tremolo-picked mono-rhythms with muffled death metal riffs which are illuminated by a blasting percussive background that helps to accentuate the riff ideas, while ushering in some tempo changes in itself. Nohttzver, well known for being a founding member of and the man behind the iconic logo of Weapon dishes out some really fantastic fills, and the percussive dynamics as a whole courtesy of his adept drum chops are very gratifying. The tone of the drums is especially menacing while still being technically adept and well thought out, without descending into any mindless savagery. This, in addition to bringing into the mix, song-writing elements that would otherwise be considered surprising, perhaps even abhorrent in the context of a black/death metal band, such as the incorporation of some bombastic but rather enjoyable grooves, as the opening and title track ‘Quayamat Lullaby’ reveals. Marhoum’s bass truly shines through in these brief phrases. The guitar solos indulge themselves in a sense of tormented atonality (although not overwhelmingly so), coiled around emotive leads, and as already mentioned, the axe-attack of the guitarists (Agnee Azaab and Nohttzver who serves as an addition studio guitarist) itself has an innate sense of emotiveness and a certain intensity. Many segments within songs have phrases that have a candor and simplicity of sorts that presents an inherently ‘eastern’/Oriental sensibility, almost as if these very melodies could be played on a more traditional instrument, such as the Ektara.

Thematically, the band invokes an iconoclasm of sorts that goes hand in hand with the emotional quotient and story-telling ability of the melodies. The title track for instance chronicles the advent of chaos during the Day of Judgement. Such themes in turn effectively paint abstractions of misanthropy and a certain epiphanic disillusionment. The clean guitars on a track like ‘Leashed Silence’ attests to this, as do the vocals of Imam Iblis, a stressed, thunderous and hoarse attack with has a heightened degree of enunciation which reinforces this prudent nihilism. Back up vocals of a more histrionic nature are provided by the ever versatile Nohttzver, as is the case in 'Bloodsoaked Revelation'.

The production of the EP on the other hand is a litle murky, perhaps taking away from tracks that would otherwise truly stand out in a well produced mix. While all the instruments are perfectly audible, there is an innate sense of jarring that results in an atmosphere that impression on one as congealed and perhaps even a little sterile. But of course, given this is merely a debut EP and the band may well have been working with both limited time and resources, one can look past this for the most part, especially if one is used to listening to bands who purposely opt for a low fidelity aesthetic (which most seeking out this EP would have, assumably).

In essence, this is a very admirable effort by Nafarmaan, and is slightly brought down due to its production values, although the song-writing ideas still manage to shine through. This isn't an avenue for immediate appeasement, but instead grows on you due to its inherent off-beat approach, laden with native sensibilities and a non-conformance apropos traditional blackened death metal. The charm of this release is in the distinctive yet subtle touches that the band adds to their aural canvas, with an admittedly arcane eastern allure to it, be it the chanted and spoken word passages, usage of cleaner tones or of ambiance-inducing sound samples. I for one look forward to more from these Banglas, who've surprisingly managed to forge a new approach in this largely derivative sub-genre, much like their (originally) fellow compatriots and sonic relatives in Weapon.

Rating – 8.8/10

Nafarmaan on Facebook

Reviewed by,

Achintya Venkatesh

TOP ALBUMS: YEAR 2013

1. UNTITLED by GRAVE UPHEAVAL 

     Full Length. Nuclear War Now Productions

 Suffocating, Confrontational, Pan-dimensional. Needs multiple listens to grow on you.

2. INTO THE KINGDOM OF GRAVES by TYRANTS BLOOD

     Full Length, Self Released 

Brutal, bestial and everything that is synonymous with extremity.

3.  THE UNHOLY COMMUNION by VERMINOUS

Full Length, Xtreem Music 

Dark, Furious, Blistering. Swedish Death Metal tangled with tints of USDM.

4. SATANAE TENEBRIS INFINITA by IMPRECATION 

Full Length, Dark Descent Records 

Blackened Death Metal Veterans strike  with their first ever full length that slays and desecrates holiness.

5. BELOW by LANTERN
Full Length, Dark Descent Records

Primitive, Dark, Withered and Haunting.. Death Metal with substance

6.  FATAL POWER OF DEATH by BEYOND 

Full Length, Iron Bonehead Productions 

 Filthy, dark Metal of Death from German Abyss, impressive and destructive

7. ANTI-COSMIC TYRANNY by A.M.S.G

Full Length, Profound Lore Records 

Weird and Bizarre but goes uncannily smooth 

8. GRAVE EKSTASIS by IRKALLIAN ORACLE 

Full Length, Bolvark

Chaotic and torturous occult black/death metal done with maximum atmosphere

. 9.LOGOS by ANTEDILUVIAN

Full Length, Nuclear War Now Productions 

Their best work. If you liked 'Through the Cervix of Hawaah', Chances are you would find it more claustrophobic and nauseating 

10.OBSCURE VERSES FOR THE MULTIVERSE by INQUISITION 
Full Length, Season of Mist Records

 Come and share the secrets of creation through trance of Dagon and Incubus's tyrant symphony cult.

11. KAPALGNOSIS by ORATOR

Full Length, Armee De La Mort Records

Kliffotic destruction through sonic deathrashing tandava. Fast, barbaric and blasting euphoria. 

12. AURA by BOLZER

EP, IronBonehead Productions 

Primal Death Attack from Swiss Alpine Grave. First Wave induced and refreshing bolting frenzy.

13. MAN, GOD, GIANT by KATECHON

Full Length, Nuclear War Now Productions

Bestial black metal belted harshly with rotten punk aesthetics.

14. BLACK DEATH HORIZON by OBLITERATION 
Full Length, Indie Recordings

Old School death Metal done in traditional way in vein of Autopsy, Obituary, Master or Deceased.

15. ANTINUMEROLOGY  by MITOCHONDRION
EP, Dark Descent Records

Creepy, Ferocious, Mind numbing and consistent as ever.

16. MUERTE DE CRISTO EN GOLGOTA by MORBOSIDAD
Full Length, Nuclear War Now Productions

Trade mark Morboso Metal at its shining peak.

17. UNENDING DEGRADATION by KRYPTS
Full Length, Dark Descent Records

Finest work by one of the finest bands from Finland.

18. THE IMPIOUS CRUSADE by IMPIETY
EP, Hells Headbangers Productions

Impiety goes wicked and wilder every passing day. Untamed and lawless bestiality.

19. THE HEADLESS RITUAL by AUTOPSY
Full Length, Peacville Records

Yet another sledgestrike from the veterans.

20. PATRICIDAL LUST by VASTUM
Full Length, 20 Buck Spin

Crustrodden, doom-laden filthy death metal perfection

21. THE MALFICE by PENTAGRAM CHILE
Full Length, Cyclone Empire

Overlooked album of the year


22. BLIND SERVANTS/BACK FROM THE DEPTH by ATOMIC AGGRESSOR / DEATH YELL 
Split, Hells Headbangers Records 

Old school madness preserved in two songs each from both the bands, nonetheless great music.

23. SWARMING DARKNESS by SLUTVOMIT
Full Length, Invictus Productions

Black thrash/speed metal delivered with authentic 80s aesthetics. 

24. WARBORNE ASSAULT by NUCLEAR WINTER
EP, Wartorn Records

 Violent thrash Metal performed with rabid speed, aggression and much attack.


25. NEXULZIFER by NEXUL
Demo, Hells Headbangers Productions

Reverbed, echoed, buried under thick distortion. Black Death Metal recommended for Archgoat, Beherit and Blasphemy fans.

26.  TOWARDS ESCHATON by CRAVEN IDOL
Full Length, Dark Descent Records

Bestial black thrash metal perfection. 

27. SEPULCHRAL RUINS BENEATH THE TEMPLE by SHEOL
EP, Iron Bonehead Productions

Dark Occult Death Metal Catacomb Art.

28. BLOODTHIRSTY EYES by WITCHBURNER
Full Length, High Roller Records

Pulverizing German Thrash Madness

29. ALL UPROARIOUS DARKNESS by VASAELETH 
EP, Profound Lore Records

Death Metal perfumed with cryptic stench of death and decay

30. DEVOURED BY SERPENTS by ANCIENT CRYPTS
Demo, Iron Bonehead Productions

Extremely Heavy Death Metal inspired by Chile Deathult as well as acts like Incantation and Asphyx.

31. SULPHUR BLESSING by SACROCURSE
Demo, Iron Bonehead Productions

Black/death metal in vein of Black Witchery, Manticore or  Blasphemy.
RBC Way. No Alien Influences.


Other Honorable Mentions

Vexovoid - Portal 
The Witchhunt - Master
Evil Prevails - Convulse
Poisoned Void - Vorum
Septentrional Theophany - Antediluvian 
Target Earth - Voivod
Condemnation - Temple Nightside 
I - Ogdru Jahad
Throne Of Demonic Proselytism - Demonomancy
Multiversal Holocaust - Zom 
 

REVIEW: Gruesome Malady - Anthology (India)

Band – Gruesome Malady 

Release – Anthology

Type – Compilation

Label – Self-Released/Independent 

Origin – Bangalore, India 

Date of Release –December 10th, 2010 

Number of Tracks – 19 

Playing Time – 1.1 hours 
Genre – Goregrind

Tracklisting

CD 1 -

1. Malodorous Ejaculation 

2. Foul Gases Emanating from a Ruptured Anal Tract 

3. Sodomizing the Infirm 

4. Ingest the Excrement 

5. Twisted Mass of Burnt Decay (Autopsy cover)

6. Lactated on Festering Mammary Pus 

7. Infected With Virulent Seed

8. Molesting the Disemboweled 

9. Fermented Urine Therapy 

10. Embalmed in Fetid Rectal Discharge

CD 2 - 

1. Degraded and Defiled

2. El Ataque Delos Muertos Sin Ojos [Instrumental]

3. Crypts of Ichor/Frenzied Evisceration of Viscous Excrescence

4. Mangled by Rodents

5. Post-Mortal Insemination

6. March of the Mongoloids

7. Aura of Atrophy

8. A Cranium Divided

9. Boneyard (Impetigo cover)

Gruesome Malady were the first band to put India on the world wide grind map, and heralded a micro-movement of a small group of bands playing genres derived from the larger grindcore realm in the years to come. Having made quite the furore in the underground in the past, Gruesome Malady’s Anthology chronicles the band’s career in its entirety, and is a compilation consisting of all their official studio material sans their initial demo release. The first 10 tracks of the compilation are from their torrential debut and sole full-length studio album, ‘Infected With Virulent Seed’. All of the tracks are introduced by a precursory clip from horror movies of various sorts that address and portray perverse and depraved scenarios, well in congruence with the type of music present on this record and reinforce the thematic leanings of the band.

The focal point of all the compositions is very obviously Jimmy Palkhivala’s twisted axe work. The riffs are absolutely abstruse and very unique even within the realm of an already extreme and unconventional genre like goregrind. The sheer nature of the riffs are very interesting – their vector is a sludgy guitar tone that serves to create a rather suppurating atmosphere, and is propelled forward by a sense of extended song-writing that is suffocating and cumbersome on the listener. The riff’s stylistic leanings are itself somewhat evocative of, and seem to borrow ideas from the traditional death metal school of guitar work, but this approach does not stray into deathgrind hybrid territory in any sense, and instead add to the eclectic nature of a given composition, as the riffs are multi-phrasing in any given segment. The sheer moods of the riffs here are destructive and deviant, and have an uncomfortable sense of ominousness and depravity that is simply fantastic. Gruesome Malady does not lazily lean back on either a cyclic song-structure, nor do they rely on repetition in order to reinforce a song-writing idea, which essentially brings the stand out feature of this record to fore - the song-writing is the furthest thing from conventional goregrind.

The structural quality of the riffs are itself pleasantly unpredictable, being a potpourri of rapid chugging (albeit with a strong ear for definitive rhythm as opposed to sterile, percussive picking), note-based syncopation and almost neo-classical leads that as a whole impression upon one as a warped and debased satirization of the pulsating melodicity that is not uncommon in the realm of extreme metal, although in limited and suitable doses. The sudden structural shifts employed by Jimmy is unsettling in a sense, given the felicitous character of the dissonance (‘March of the Mongoloids’ reflects this in a most incredible manner), atonality and consonance within the compositions, when in actuality their usage is nothing short of esoteric and festers upon the ears of the listener. ‘El ataque De Los Muertos Sin Ojos’ presents all these elements in healthy slabs.

Vikram Bhat’s drumming is a fairly standard blast-beat laden indulgence, changing its pacing, albeit in a subtle manner relative to the tempos ushered in by Jimmy’s guitar conceptions. Although, there is a definite sense of spontaneity, given that the percussion has an arbitrary tendency to descend into drum fills. The tonal impression and blasting quality of the percussive side of things are unapologetically grimy. One may find themselves complaining about the lack of supposed technical and instrumental precision and dexterity in this department, but that is essentially missing the point, given that the punishing atmospheres call for this seemingly off-rhythm and murky approach that serves to sustain the sonic tension. Essentially, the rhythmic pacing of the guitars in conjunction with the drumming is purposefully muddy in order to reinforce the grinding, aberrant and distorted quality of the morass-like compositions.

The production certainly helps in this regard, as it generates a feculent aesthetic that is swamped by the aural abhorrence of the reverb and distortion. The vocals (shared by the manic duo), comprising of the conventional bizarre gurgles, on the other hand, seem to be lost in an otherwise satisfactory mix and are merely random noises amidst the instrumentation, although one may question how imperative they are to the sturdiness of the songs in the grander scheme of things. The guitars sound more illuminated in countenance and pop out of the mix among the songs which were originally released on the Mortuary Hacking Sessions/Gruesome Malady split relative to the songs on ‘Infected with Virulent Seed’ or ‘Blasphemous Beef/Aura of Atrophy’ (split with Patologicum). The two covers, Impetigo’s ‘Boneyard’ and Autopsy’s ‘Twisted Mass of Burnt Decay’ (which the band members’ other project Dying Embrace often covers live) are also very fun listens and rather interesting takes on the originals. The former cover especially comes off as particularly unhinged.

In summation, this is an excellent compilation of what was one of the more unique forces in the goregrind genre. The USP of GxMx’s music is essentially a twisted sense of dynamics that invokes an inherently entropic and eclectic structural approach, distorted by a seemingly disorganized, incomprehensible and chaotic sense of composition. A variety of influences are excellently channeled, such as Mortician, Lymphatic Phlegm, Last Days of Humanity or even Blasted Pancreas but Gruesome Malady ultimately stand proud with an extremely unique sound to their name. The pressings of this compilation were cancelled due to some shortcomings on part of the manufacturer, who instead pressed CDrs and failed to incorporate the casing for a double disc package. However, I do hope that this compilation sees the light of day some day, and is re-pressed for the fans and grind aficionados alike to access Gruesome Malady’s discography in a composite and easily accessible form.

Rating - 9.3/10

Gruesome Malady on Facebook
Gruesome Malady on Metal-Archives

Reviewed by,
Achintya Venkatesh

REVIEW: Orator - Kapalgnosis (Bangladesh)

Band – Orator

Release – Kapalgnosis

Type – Full-length album

Label – Armée de la Mort Records

Origin – Dhaka, Bangladesh

Date of Release – February 20th, 2013

Number of Tracks – 10

Playing Time – 41:37
Genre – Death/thrash metal

Tracklisting

1. First Born of Sataninsam

2. Kapalrevolution

3. Satanachesh Grimore

4. Gnosis Stained Khadga

5. In Tamas They Dwell

6. Necrocosmic Apparitions

7. Devoid of Dharma (Aghorey Bhyo) [Instumental]

8. Bestial Death (Merciless cover)

9. Rites of Grand Renunciation

10. Last Emissaries of Doom Tantra

Orator arose from the ashes of Barzak, a more primitive black/death metal project which the primary members of the band were a part of until the change in moniker. Three years after their debut EP ‘Dominion of Avyaktam’, the fruits of the band’s hard work are presented on this studio endeavour. Released via Armée de la Mort Records, Kapalgnosis marks the first full-length of the Bangladeshi trio. The etymological meaning behind the title and the overall running theme of the album is imperative to the album experience, and is not merely a superficial subject for the record to frivolously lean back on, but something that adds to the overall theatrical experience of the music. Kapalgnosis is as portmanteau word of two words – kapal and gnosis. Kapal translates into the skull cup possessed by Kāpālikas (and more broadly Aghoris), a non-Puranic, tantric order of Shaivism in South Asia. Gnosis on the other hand denotes knowledge, and thus Kapalgnosis together denote the cranium chalice/skull cup of knowledge.

The trance like intro of the album puts the listener in an almost meditative reverie, with an atmosphere begetted by the trajection of what seems to be an ambient sitar, evoking a feeling of austere. But this feeling of tranquillity is encroached with the first song, ‘First Born of Sataninsam’, which sets the tone for the album in a sense, chronicling macabre Aghoric tales, among other alternative path topics. One immediately takes note of the slight shift in the pacing of the band, which was a more straightforward blasting indulgence on their debut EP in the vein of the percussive patterning of bands like Krisiun. This full length sees the band take on a charging tempo that is comparatively evocative of a more classic death/thrash metal percussive racing in the vein of Sepultura, Master and Merciless, which are quite obviously some of the band’s influences. This works to the advantage of the band, as they’re able to forge their riff ideas in a more controlled manner as opposed to mindless un-fettered tremolo ripping. However, by no means could the music be described as restrained or sterile, as the tone of the drums are punishingly bludgeoning. Essentially, Mephistopheles Warmonger brings forth a dynamic to the band that keeps structural adherence in check while refusing to compromise on the savage nature of the music.

The guitar work is unapologetically syncopation driven, evoking a raw and thunderous textural dynamic that compliments the grotesque realism of the Aghoric dogmas. Tempo shifts and riff ideas are seamlessly executed and blend into the larger creative canvas in some of the more lengthy compositions such as ‘In Tamas They Dwell’. Clean guitar work is sparingly added during appropriate segments of the aforementioned song, as well as the ambitious and eremitic instrumental ‘Devoid of Dharma (Aghorey Bhyo)’. This element serves to add to the layering and illumination of a given track, while presenting fragmented ideas working together in counterpoint. Solos are brief and quite simplistic, perhaps leaving one longing for more in that specific department, but the vitality of the songs as a whole compels one to ignore this shortcoming. Vritra Ahi’s bass work mostly follows the riff idea established by Skullbearer, but adds to the overall cohesiveness and sturdiness of the sound. Independent bass moments are found on songs like ‘Gnosis Stained Khadga’ and others across the album.

The song structures are cyclical, and the number of distinctive, separate riffs is limited within a given song, but the sheer relentlessness of the compositions, driven by the ripping wave-like riffs keep any notions of monotony at bay. The vocals are a primitive, ripped vocal-chords type of indulgence that requires little analysis. Vocal hooks are incorporated within the primeval sonic pillage of Skullbearer’s venomous chants; as the chorus of songs like ‘Kapalrevolution’ or ‘Rites of Grand Renunciation’ effectively reflect. There are less native instruments on this album relative to their debut EP, and is mostly restricted to the usage of subtle flutes that are in congruence with the trance inducing guitar patterning on the sole instrumental track of the album. The band has also added a cover of Merciless' ‘Bestial Death’ which is simply fantastic.

Lyrically, the band invokes the cultural mythos and mysticism of the land, albeit not by means of a straightforward historical narrative. Instead, they reflect on the more anomalous (some would say morbid) side of the land’s spiritual tenets, and what better dogmatic order than the Aghori sect compliments their menacing and dark hymns? However, this is tastefully done, and doesn’t overwhelm the listener. The sound they’ve forged for themselves is universally relatable amidst these native specificities and culturally-oriented thematic leanings. The artwork is also fantastic, which portrays a Brahmin being decapitated by a maniacal Aghori (with a third eye to boot), and the premise of the artwork can be read inside the lyrics/credits booklet of the album. I cannot stress what an excellent visual compliment it is to the larger thematic premise and rabid music of the album.

In conclusion, the band successfully conjures a death metal sound via a vicious thrash metal percussive channel, which is both gratifying and has high replay value. It might not present the most original sound, but is cohesively executed and to put it simply, very catchy and invigorating, and is stellar by any standards.

Rating – 9.2/10

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Reviewed by,
Achintya Venkatesh